The narrative of Las malas is defined at the juncture of literary genres, narrative voices and materialities of bodies (Butler). Sosa Villada's denaturalisation of genre norms is made possible by the contrapuntal dialogue between two narrative strategies, between two narrative voices. Based on the notion of discursive performativity, we will examine how the narrative procedures used to denaturalise the hegemonic norm of bodies in turn allow us to denaturalise and generate new literary values in dialogue with the twentieth-century novelistic tradition that makes up the literary canon.
Neste artigo, abordamos os termos da representação lésbica em dois longas-metragens, de ficção, realizados por mulheres no Brasil, no período de ditadura civil-militar (1964-1985). Analisamos Marcados para viver (1976), de Maria do Rosário Nascimento e Silva, e Amor maldito (1984), de Adélia Sampaio. Partimos de referenciais feministas do cinema, que reconhecem o jogo de (in)visibilidade lésbica em cinematografias, desde filmes clássicos de Hollywood, sustentando que, apesar de códigos de censura e do padrão de heterossexualidade compulsória ou de heteronormatividade, as lésbicas sempre apareceram neles, mesmo que de maneira fantasmagórica. =======
In this article, I address the terms of lesbian representation in two fictional feature films directed by women in Brazil during the period of civil-military dictatorship (1964-1985), namely Marcados para viver (1976), by Maria do Rosário Nascimento e Silva, and Amor maldito (1984), by Adélia Sampaio. Beginning with feminist references in cinema, which have recognized the play of lesbian (in)visibility in cinematographies since the classic age of Hollywood, I maintain that, despite censorship codes and the standard of compulsory heterosexuality or heteronormativity, lesbians have always been present, even if in a ghostly manner.
One of the most moving tributes to the dead is the playing of the Highland bagpipes during funeral services, whether in the church or at the graveside. This custom has a long history both in Scotland and in areas of North America settled by Scottish immigrants over the past 300 years, and for lovers of bagpipe music it is an essential part of the funeral ritual. Throughout its history the piper’s lament has transcended social class structure and has been performed for paupers and presidents alike. Despite being deeply rooted in tradition, the music and function of this musical practice have changed over time. Drawing from printed texts of the 19th and 20th centuries, recent scholarship and local folklore surrounding funeral customs and music, this paper examines the origins of the funeral piping tradition in Gaelic Scotland and its evolution in North American society.
At a time where so few survivors remain alive and the extermination of European Jews is leaving the field of direct human experience, the evolving collective memory of the event is reflected in popular culture. There has recently been a rise in the number of graphic novels written on the subject of the Shoah, particularly in France, Germany, and North America. These works, written by second or even third-generation survivors nearly 80 years after the genocide, approach the event from perspectives that not only further Art Spiegelman’s path in that they challenge the so-called limits of Holocaust representations, but also open up new discussions on transgenerational trauma. Focusing on two graphic novels, Michel Kichka’s <i>Deuxième génération: Ce que je n’ai pas dit à mon père</i> (2012) and Jérémie Dres’ <i>Nous n’irons pas à Auschwitz</i> (2011), my aim here is to examine the new aspects of trauma that these texts present, more specifically the reluctance to deal with one’s past, the struggle to bear the weight of the ‘sacred’ memory of Auschwitz, and in some cases the lack of interest of the youth in the Shoah. Both these autobiographical texts narrate the story of men who end up making the conscious decision never to go to Auschwitz after finding out about their ancestors’ history, asserting their desire to not solely be defined by their family tragedy. These issues, which fit in with what Matthew Boswell and Joost Krijnen define as ‘Holocaust impiety’, mark a break with graphic novels from the 1970s and 1980s which, as Gillian Rose writes, ‘mystified’ the event as ‘something we dare not understand’.
Adelina Codina Canet, Elena Diaz Casero, Eduardo Saiz Riquelme
El proyecto consiste en la creación de un archivo digital del movimiento ecologista español y de los conflictos ambientales en los que ha participado desde su aparición en la década de los años 70. En la Confederación Ecologistas en Acción se unificaron en el año 1998, unos 300 grupos en federaciones autonómicas (excepto Galicia y Baleares). El proyecto es un intento de construir bases para el desarrollo de una historia ambiental en nuestro país, dando libre acceso de los fondos documentales, que unos de los principales protagonistas conservan. El proyecto se inició en mayo de 2017, entre los logros conseguidos se halla la difusión del proyecto en diferentes foros y artículos. Se ha creado una plataforma digital, y han sido agregados cerca de 1.200 documentos. El estudio aporta un estudio de la grupalidad del movimiento ecologista en España en las décadas de los años setenta, ochenta y noventa.
Environmental sciences, Latin America. Spanish America
El debate sobre el populismo en América Latina ha resurgido a raíz del viraje que se produjo hacia la izquierda en varios países de la región. En este artículo se analiza, en primer lugar, la ambigüedad y la polisemia de dicho concepto, así como las razones para dicha polisemia. En segundo lugar, las diversas periodizaciones que se han propuesto para la identificación de las etapas del fenómeno en la historia política latinoamericana, precisando las controversias generadas por dicha periodización; y, por último, se recogen los elementos de discusión, tanto teórica como política, para definir al populismo, así como para explicar el porqué de sus causas, y la valoración que se ha hecho del fenómeno populista desde las diversas disciplinas sociales y desde diversos espectros ideológicos.
Definir patrimônio é uma tarefa estimulante, pois amplia horizontes a cada adjetivo agregado àquela palavra. Pode-se falar em patrimônio cultural, natural, imaterial, dentre outras formas de interpretar o registro da expressão humana que confere significado a quem a fez e a seus semelhantes. Mais que isso, o patrimônio tornou-se objeto de políticas públicas e institucionalizou-se. Ganhou ares internacionais. Chegou ao ápice ao ser definido como da humanidade. Há uma instituição multilateral que se
apregoa definidora das expressões a serem mantidas pela humanidade, a
Unesco; e sua similar nacional, o Iphan, na escala federal, e outros órgãos públicos estaduais e municipais também lutam pela manutenção das evidências da aventura humana na Terra.
Latin America. Spanish America, Social sciences (General)
Larissa Rosa de Oliveira, Marcelo C M Gehara, Lúcia D Fraga
et al.
The South American sea lion (Otaria flavescens) is widely distributed along the southern Atlantic and Pacific coasts of South America with a history of significant commercial exploitation. We aimed to evaluate the population genetic structure and the evolutionary history of South American sea lion along its distribution by analyses of mitochondrial DNA (mtDNA) and 10 nuclear microsatellites loci. We analyzed 147 sequences of mtDNA control region and genotyped 111 individuals of South American sea lion for 10 microsatellite loci, representing six populations (Peru, Northern Chile, Southern Chile, Uruguay (Brazil), Argentina and Falkland (Malvinas) Islands) and covering the entire distribution of the species. The mtDNA phylogeny shows that haplotypes from the two oceans comprise two very divergent clades as observed in previous studies, suggesting a long period (>1 million years) of low inter-oceanic female gene flow. Bayesian analysis of bi-parental genetic diversity supports significant (but less pronounced than mitochondrial) genetic structure between Pacific and Atlantic populations, although also suggested some inter-oceanic gene flow mediated by males. Higher male migration rates were found in the intra-oceanic population comparisons, supporting very high female philopatry in the species. Demographic analyses showed that populations from both oceans went through a large population expansion ~10,000 years ago, suggesting a very similar influence of historical environmental factors, such as the last glacial cycle, on both regions. Our results support the proposition that the Pacific and Atlantic populations of the South American sea lion should be considered distinct evolutionarily significant units, with at least two managements units in each ocean.
FRED: We really have to convey to the kids that the Depression wasn’t just 1929 and the stock market crash. It had a profound impact on the lives of all Americans. Let’s have them read parts of The Grapes of Wrath, maybe even look at some of Lange’s photographs of migrant workers. Reading Steinbeck is great! If they don’t understand the impact of the landyou know, the dust storms and the droughtsthey’ll miss the main point. The main point? Now wait just a second. The economic and political issues of the thirties were just as important, if not more so, than the Dust Bowl. The stock market crash, buying on margin, FDR’s economic reforms-how can you even think about teaching the Depression without emphasizing capitalism? Sorry folks, but you’re all missing the point. How does this stuff relate to the lives of the kids? What difference does the Depression make if the kids can’t see how it affected their lives? Relevance that’s the key!
Reseña bibliográfica del libro de Nicolau Sevcenko, Orfeo extático en la metrópolis: San Pablo, sociedad y cultura en los febriles años veinte Traducción de Ada Solari, Bernal, Universidad Nacional de Quilmes, 2013, 417 pp.
Latin America. Spanish America, French literature - Italian literature - Spanish literature - Portuguese literature
La escritora colombiana Laura Restrepo propone considerar su última novela, Hot Sur, como una novela de fronteras, por cuanto en ella se ocupa de mostrar lo falaz que resulta el sueño americano para los latinos y, simultáneamente, de revisar los diferentes prejuicios con los que se configura la imagen de los ciudadanos del Sur. Esta afirmación sirve de punto de partida a la lectura hermenéutica que se propone en este artículo, donde se analiza el proceso comparativo entre los del Norte y los del Sur que desarrolla su autora a través de una trama policiaca. El análisis se detiene en dos motivos temáticos de naturaleza dicotómica, el idioma/la escritura y lo limpio/lo sucio, propuestos en la novela como parámetros de diferenciación y de encuentro entre las dos culturas.
Si bien todos los elementos en la naturaleza están ligados unos a otros, tendemos a olvidar que dicha conexión se extiende al arte y a las vivencias que, por medio de él, expresamos. Dentro de tales vínculos, estoy convencida de que no existe uno más evidente que la proximidad entre el mar y las palabras. No soy la primera en notarlo y, por supuesto, no seré la última persona que lo haga.
American literature, Latin America. Spanish America